Thursday, 31 January 2019

Archerfield Gift Voucher

Fletcher’s Cottage Spa is the luxurious spa set on the Archerfield Estate, which is less than an hour from Edinburgh. The estate features a golf course and several houses which can be booked in their entirety for weddings and celebrations. The spa has been featured in the Sunday Times Travel Top 6 British Spas and the Tatler Spa Guide.
This is the printed gift voucher, the format is a 6pp, A4 gatefold with two "thumbcuts" which hold in the voucher (195x92mm) as you can see in the images below.
Click on images to emlarge
The below image shows the outer cover, flat.
This literature is all printed on Crush, Corn 200gsm. It has been digitally printed (beautifully) on a Ricoh 5100 by DTP Print in Edinburgh as you can see from the detail image below...
Creative direction and design is by Katherine Scott at Studio Thought Process based in Edinburgh.
If you aren't familiar with Crush, it is one of our ranges made by FAVINI in Italy and is made using 15% residues from the industrial processing of agricultural processing. As a result, the paper does have inclusions and a "rustic" feel, which you might just be able to see from the image detail below:
Click on images to enlarge
With thanks to Sonya Beaumont at DTP Print for sending file copies.
Posted by Justin Hobson 31.01.2019

Monday, 28 January 2019

David Hebrew Typeface Family

Ismar David was a prolific type designer, calligrapher, graphic designer and illustrator. He also engaged in architectural design and taught calligraphy. From the 1930s to the 1990s, he created exquisite designs, studying in Berlin in 1928, emigrating to Jerusalem in 1932 and to New York City in 1952.
His most important work is considered to be the David Hebrew Typeface family. It was the first of its kind when it was issued in 1954 and up until today it is the pinnacle of Hebrew type design.

What are the challenges entailed in designing a Hebrew typeface family? How did David tackle these obstacles? Why is this work paramount and what has become of it over the years ...?
You can hear the answers to these questions at a talk being given by Shani Avni, based on her  research for her MA dissertation at the University of Reading. Her talk will shed some light on David’s fascinating design process and ground-breaking results.
Shani Avni is an independent designer and researcher. She holds a BA from Shenkar College of Design in Tel Aviv and an MA in Typeface Design from the University of Reading. Shani has been chosen for the 2017 Cary Collection Research Fellowship at the Rochester Institute of Technology (RIT), USA, where David’s work is archived.

Unfolding the First Hebrew Typeface Family by Ismar David is at the St Bride Foundation on 6th February 2019 7pm – 9pm. Tickets cost £8 – £12.50 and you can book tickets HERE
Posted by Justin Hobson 28.01.2019

Wednesday, 23 January 2019

Colorset for every month of the year

The Absolute group are specialist manufacturers and printers of Luxury Packaging, Gifting, Trims and Wovens, Invitations, Fashion Lookbooks etc. Based in East London, their tagline is FIRST WE LISTEN, THEN WE MAKE....
I received this lovely 2019 calendar which they produced in house. The size is 113x164mm, plus a 12mm tab. 
The calendar is produced on our Colorset 100% Recycled 350gsm board in the shades of Sandstone, Natural, Ash and Light Grey, which is a great colour pallet.
Click on images to enlarge
Each of the cards is duplexed, with a different colour on the reverse, so each of the cards is a 700gsm thick card. The below image shows the reverse of the cards...
Below image shows the detail of the duplexed edge
The calendar is printed in just one colour (a special green) - a perfect example of the impact of just using one colour.
Posted by Justin Hobson 23.01.2019

Monday, 21 January 2019

Today is Blue Monday

According to the newspapers, today is supposedly the most depressing and gloomiest day of the year. As people come down from holiday-highs, start to receive their credit card bills, and start to experience ever colder weather ...and the fact that it's a Monday, it's easy to see why you can get down in the dumps.

Not me! ...I'm using it as an excuse to tell you that here at Fenner Paper, many of our paper ranges include shades of blue, which when you add them up total 27 different shades of blue!!!!
Yes, it's a cynical ploy, but then apparently Blue Monday was itself a cynical invention back in the early 2000's developed as a way of selling summer holidays in January!

27 different blues is as many as some of those other bigger companies can offer...

So if you feel like a blue today, get in contact.
Posted by Justin Hobson 21.01.2019

Wednesday, 16 January 2019

ArjoWiggins Paper Mills go into Administration

There is very sad news that ArjoWiggins, part of the Creative Papers division of parent company Sequana has placed all of it's manufacturing mills into administration. There are three paper mills in France employing over 900 people and two mills in the UK plus other subsidiaries employing over 600 people.
It shows what a bad state the paper manufacturing world is in. The combination of decreasing demand and higher energy and raw material costs including both pulp and chemicals means that all manufacturers are having a rough time. If a buyer or buyers for the individual mills are not found, then the mills may be closed down.

Antalis is a separate listed company but a majority shareholding is held by Sequana. At present, Antalis is unaffected, although they are the exclusive UK stockists of many of those brands made by the ArjoWiggins mills, including Curious, Cyclus, Olin, Keaykolour, Popset etc. (all are registered trademarks of ArjoWiggins Fine Papers).

As a result of this situation there may well be shortages for some of these papers. At Fenner Paper, we are increasing our stockholding, especially of our Stardream range (which is a competitor product to Curious Metallics) and our Colorset text and cover range.

If you would like to read more about the current situation, here are some links:
Posted by Justin Hobson 16.01.2019

Monday, 14 January 2019

Spitfire Audio - The Annual

In the spring of 2018, British music technology company Spitfire Audio began compiling stories, photos, conversations and interviews with a whole host of musicians and friends of the company, collected together in a very special print publication called The Spitfire Audio Annual.
Click on images to enlarge
At a whopping 246 pages, it is 18mm thick and is shown in the image above with the black covered, debossed slipcase. The Annual boasts behind-the-scenes photography of the extraordinary Schimmel Piano factory and the hallowed Harbeth Speakers workshop, featured in the publication alongside and illustrations by Jan Buchczik.
Click on images to enlarge
Taking cues from the production of music scores, the in-house team has balanced exclusive, beautifully-commissioned stories and images with a specially-designed typeface to sit within its functional, minimal approach to design.
Said co-founder Christian Henson: “There have been many surprises on this odyssey that is Spitfire Audio, an idea born in a pub in Soho with my business partner Paul over a decade ago. All enabled by our extended family, comprised of thousands of like-minded talented people around the world who have given us trust, belief and vital feedback. So, as with any proud family, we thought it only appropriate to create a family album — an Annual — as a memento of an incredible year that we have all shared together.”
The publication size is 270x200mm, portrait and is 'spiral bound', which means it is individual 'leaves' held together with the binding loop. There are 93leaves (186pp) on Shiro Echo, Bright White 120gsm and 26 leaves (52pp) on Flora Giglio 130gsm. The image spreads are mainly produced on the Shiro Echo and the reproduction is superb.

There are also the lovely surprise 'tip ins' which happen infrequently but work beautifully.
...and a spread showing a Spitfire, printed on Flora, Giglio
Below is a detail image showing the spiral binding (cover is on Cairn board 500 mics from Paperback)
Flora, is a part recycled text and cover paper with a deliberately recycled look and feel with specks and inclusions, so it looks deliberately flecky and specky. Flora is produced with 30% post consumer de-inked waste, together with 60% of virgin FSC pulp 10% cotton fibres, which gives the paper a wonderful tactile feel. See the image below to see the detail...
Click on image to enlarge
Interestingly, the spread below is printed on Shiro Echo on the left hand side and on Flora Giglio on the right hand page. The printer has worked very hard to compensate for the differences in shade and printability to get a seemingly seamless end result.
The designers of the Annual are Aspa Founti and Tom Howe at Spitfire Audio.

The publication is printed offset litho, CMYK throughout. The excellent print is by Park Communications, who are based in East London, with Steve Ilott managing the project. The below image shows the full extent of the 246 page publication with a thickness of 18mm
This publication is a great piece of print, it also demonstrates a real commitment by the owners of this business that they want to celebrate 10 years, by producing something tangible. A piece of print, an object, a creation that will last (if stored correctly) for hundreds of years. It is a celebration in print and is something that these days is being produced less and less.
Posted by Justin Hobson 14.01.2019

Monday, 7 January 2019

Jo Malone Notebook

Jo Malone is a London based company renowned for British bespoke fragrances for Women, Men and the Home. The brand is renowned for it's products being immaculately wrapped in a signature cream box with black corners - packaging which defines quality and an understated style. With these values in place, it's unsurprising that the company's literature is of equal quality ...but what shows how deep the ethos of quality runs, this is a notebook produced for internal use and visitors.

The books are A5 (210x148mm) portrait, they have a 4pp cover using our new Blackgold 290gsm which is a new range of black papers which is a super intense, deep black, produced without the use of Carbon Black pigment.

The cover is simply (but beautifully) silkscreen printed in one colour, which is their signature cream colour.
The 32pp text just has lines printed using offset litho and is printed on our Neptune Unique SoftWhite 120gsm, which is a paper that Jo Malone has used for many years
Click on images to enlarge

The book is simply saddle stitched with two wires...
The notebook has been beautifully produced by Mayfield Press who are based in Oxford.
Posted by Justin Hobson 07.01.2019

Wednesday, 2 January 2019

Jobs from the past - Number 111

Regular followers of this blog will know that my first post of every month is a "job from the past" so that I can show some of the really good work from years gone by...

Turner Prize - Invitation 2006
Each year the Turner Prize jury shortlist four artists for an outstanding exhibition.The prize was first awarded in 1984, founded by a group called the Patrons of New Art under the directorship of Alan Bowness. They formed to encourage wider interest in contemporary art and assist the Tate in acquiring new works. The Turner Prize is awarded to a British artist although ‘British’ can mean an artist working primarily in Britain or an artist born in Britain working globally and the prize focuses on their recent developments in British art rather than a lifetime's achievement. 

This is the invitation to the award event - one of the hotest tickets in town for the art world. The award was being presented by Yoko Ono. The four nominated artists are Tomma Abts, Phil Collins, Mark Titchner and Rebecca Warren...
The invitation is a 6pp gatefold. The size is 230x140mm, portrait, folding out to 230x420mm. It is printed on our sturdy Omnia 320gsm.

During this period (2006/2007) all private view invitations produced for the Tate were produced on Omnia at the instigation of designer Melanie Mues. All the invitations featured an image of the work of the artist combined with a solid colour on the reverse - you can see many of the invitations on the link here. Omnia was chosen because it would reproduce the wide range of media superbly plus the solid would always look excellent. This invitation followed the style but as it was not possible to reproduce the work of four artists, the names are simply (and beautifully) hot foil blocked on the outside of the invitation, and this time the solid colour is a metallic amethyst ...and because metallic inks actually look metallic on Omnia, the result is superb.
The foiling is a multicolour, holographic foil, which I hope you can see from the image below, really does shimmer and change shade as it catches the light.
Birds eye view...
Detail of the holographic foil
...and that literally is it - simply printed offset Litho in one special metallic pantone shade, well creased, beautifully designed, superbly hot foil blocked and no images - what more can I say?

Designer is Melanie Mues. Production is by the graphic design department at the Tate. Print is by Push print in London.
Posted by Justin Hobson 02.01.2019